Marisa Pavan - actress

Twin sister of tragic star Pier Angeli

Marisa Pavan (left) with Anna
Magnani in The Rose Tattoo

The actress Marisa Pavan, whose twin sister Pier Angeli was a Hollywood star in the 1950s and 1960s, was born on this day in 1932 as Maria Luisa Pierangeli in Cagliari, Sardinia.

Pavan’s career ran parallel with that of her sister, who was born 20 minutes before her, but she rejected the re-invention as an ultra-glamorous starlet that Pier Angeli underwent within the Hollywood studio system.

She turned roles down when she felt they did not have enough substance and did not hesitate to sack agents if she felt they were putting her forward for unsuitable parts.  She refused to sign up to any one studio.

Her biggest success was The Rose Tattoo, the 1955 film adaptation of a Tennessee Williams play in which she played the daughter of the central character, played by Anna Magnani, one of postwar Italian cinema’s most respected actresses.

Magnani won an Oscar for Best Actress for her portrayal of a Sicilian widow, with Pavan receiving a nomination for best supporting actress at the Academy Awards and although that award went to someone else she did have the substantial compensation of winning a Golden Globe for the role.

The Pierangeli family had left Sardinia for Rome when the twins were three years old as their father, Luigi, pursued his career as an architect. Life began to change for the family in 1948 when her sister, then still known by her real name, Anna Maria Pierangeli, was approached by the famous actor and director, Vittorio De Sica, while walking along fashionable Via Veneto, and asked if she might be interested in a part.

Pavan with her husband, the French actor
Jean-Pierre Aumont, in 1965

She won an award at the Venice Film Festival for the role De Sica gave her and it was not long before the twins, their younger sister Patrizia and their mother were leaving for the United States to support Anna Maria’s new career in Hollywood. The only sadness was that they travelled without the girls’ father, Luigi, who had died a short time before they were due to leave.

Marisa, who had always been more studious than her sister, had no intention of becoming an actress herself, devoting herself to studying languages and journalism.  She nonetheless did follow Anna into the movie business, but only after claiming she was ‘tricked’ into an audition by the producer Albert Romolo ‘Cubby’ Broccoli.

Broccoli invited her to look round the Twentieth Century Fox studios and while visiting one set he gave her a costume to try on and asked her if she would like to show off her language skills by singing a song in French. Thinking it was just for fun she obliged.

The penny dropped only when she spotted an actress she recognised, Anne Bancroft, wearing the same costume. It turned out that among a small number of people on the set was the director John Ford, who hired her for a part in his 1952 comedy drama, What Price Glory, starring James Cagney and Corinne Calvet.

Although she agreed to have a shorter, catchier name for professional purposes - she chose Pavan after a Jewish soldier her family hid from the authorities during the Second World War - that was one of the few ways in her career resembled that of Pier Angeli.

Marisa Pavan has campaigned for
Alzheimer's research in recent years

Always keen to take parts that demanded something of her acting ability, she played a blind American woman in Down Three Dark Streets (1954), a Native American girl in Drum Beat (1954), the Italian noblewoman Catherine de’ Medici in Diane (1956), a French lady at the Court of Louis XVI in John Paul Jones (1959) and a Jewish woman in ancient Israel in Solomon and Sheba (1959).

Married in Santa Barbara in 1956 to the French actor Jean-Pierre Aumont, she raised two sons, Jean-Claude and Patrick, while continuing to act, diversifying into television in the 1960s and 1970s.

After the tragedy of Pier Angeli’s death from a barbiturates overdose in 1971, which continued to work, but increasingly in France, after she and her husband moved to Gassin, in the South of France.

Once her career was effectively over, she devoted much time to URMA (Unis pour la Recherche sur la Maladie d'Alzheimer), an organisation she created to support and finance research laboratories working to find treatments for Alzheimer’s.

She remained close to her sister Patrizia, also an actress, who worked in Paris dubbing movies. Her husband died in 2001.

The old town of Castello stands above modern Cagliari

Travel tip:

Cagliari is Sardinia’s main port and an industrial centre it is now also a popular tourist destination, with tree-lined boulevards and a charming historic centre, known as Castello, with limestone buildings that prompted DH Lawrence, whose first view of the city was from the sea as ‘a confusion of domes, palaces and ornamental facades seemingly piled on top of one another’, to call it 'the white Jerusalem'.

The tree-line Via Vittorio Veneto in Rome

Travel tip:

Rome’s Via Vittorio Veneto, more often known simply as the Via Veneto, is traditionally one of the most famous, elegant, and exclusive streets in the city, the home of many expensive hotels and of chic cafes where the famous and those who wanted to be famous would hang out, particularly in the 1950s and 60s. Much of the action in Federico Fellini's classic 1960 film La Dolce Vita took place in the Via Veneto area.  The street was actually named to commemorate a the victory of Italian forces at the Battle of Vittorio Veneto towards the end of the First World War.

More reading:

The brilliance of Oscar winner Anna Magnani

How Fellini became Italy's most famous film director

Marcello Mastroianni - star who immortalised Rome's Trevi Fountain

Also on this day:

1918: The death in action of World War One fighter pilot Francesco Baracca

1932: The birth of Hollywood film star Pier Angeli

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Silvana Mangano - actress

Star who married the producer Dino De Laurentiis

Silvana Mangano worked as a model before
breaking into the film industry

The actress Silvana Mangano, who was decried as a mere sex symbol and later hailed as a fine character actress during a quite restricted career, was born on this day in 1930 in Rome.

She found fame through Giuseppe De Santis’s neorealist film Bitter Rice, in which she played a female worker in the rice fields in the Po Valley who becomes involved with a petty criminal Walter, played by Vittorio Gassman.

Mangano’s character was a sensual, lustful young woman and the actress, a former beauty queen, carried it off so well she was hailed by one critic as “Ingrid Bergmann with a Latin disposition” and likened also to the American glamour queen Rita Hayworth.

She went on to work with many of Italy's leading directors, including Alberto Lattuada, Vittorio De Sica, Pier Paolo Pasolini and Luchino Visconti, but she made only 30 films, in part because she preferred to spend time with her family but also because Dino De Laurentiis, the producer of Bitter Rice who soon became her husband, controlled her career.

It is said that she was offered the important part of Maddalena in Federico Fellini’s La Dolce Vita but that De Laurentiis prevented her from taking it, the role instead going to the French actress Anouk Aimée.

The daughter of a Sicilian railway worker and his English wife, Ivy Webb, who was from Croydon, Mangano grew up in difficult circumstances in wartime Rome.  After the conflict was over her family lived effectively in poverty but she was determined to make something of herself and paid for seven years of dance lessons by earning money as a model.

Mangano's character in the 1951 film Anna was a dancer who
gives up nightclubs to take holy orders

Beauty pageants were an established route into the growing film industry.  Mangano won the Miss Rome competition in 1946 and entered Miss Italia the following year, against an extraordinary field that included Lucia Bosé, Gina Lollobrigida, Eleonora Rossi Drago and Gianna Maria Canale, all of whom would become stars.

Mangano did not win but attracted attention.  She had a brief affair with Marcello Mastroianni, then an upcoming actor, and had a number of small parts, in Italy and in France.

Bitter Rice provided her with her big break in 1949, although with a certain irony she was almost rejected by De Santis as too glamorous after she turned up for the audition dressed to kill and heavily made up.  It was only after bumping into De Santis later on the Via Veneto, having removed her make-up, which she seldom wore off screen anyway, and with her hair wet from the rain, that she won the part.

After Bitter Rice, it took a long time for Mangano to shake off he image as sex symbol but between the 50s and the 70s she gradually acquired a reputation for delivering solid acting performance in strong character roles.

Mangano's breakthrough came in the
neorealist movie Bitter Rice 

Her notable successes included Lattuada’s Anna (1951), in which she played a dancer who abandons the nightlife to become a nun, and the The Gold of Naples (1954), directed by Vittorio De Sica, in which she took the part of a prostitute, Teresa.

Later she played opposite Vittorio Gassman again in Robert Rossen’s Mambo (1955), portrayed a bourgeois mother in Pasolini’s Theorem (1968) and was the mother of Tadzio in Visconti’s Death in Venice (1971).

She won several Italian film industry awards, including three David di Donatellos, two Silver Ribbons and one Nastro d’Argento (Gold Ribbon) for best actress in Death in Venice.

Mangano and De Laurentiis married in 1949 and the couple had four children: Veronica, Raffaella, Francesca, and Federico. Raffaella went on to to be a film producer herself. Federico died in an plane crash in 1981.

Veronica’s daughter, Giada De Laurentiis, who moved to California after her parents divorced, became the host of Everyday Italian and Giada at Home on the Food Network TV channel, as well as the founder of GDL Foods and the owner of two restaurants in Las Vegas,

Mangano and Dino De Laurantiis separated in 1983, at around the same time Mangano began to suffer from ill health.  Afflicted by insomnia and bouts of depression, she was discovered to have a tumour close to her stomach, between her lungs.

She left Italy to live in Spain.  A year after her divorce from De Laurentiis she underwent surgery in Madrid in December 1989 but was left in a coma and died two weeks later, the cause of death recorded as lung cancer,

Streets in the Vallerano neighbourhood are named after
actors, actresses and writers

Travel tip:

Mangano has a road named after her in the Vallerano neighbourhood of suburban Rome, about 16km (10 miles) south of the centre of the city in the direction of the Pontine marshes and adjoining an area of nature reserves. The area is primarily residential, its broad streets named after performing artists Italian and foreign, including many movie stars, as well as journalists and publishers.

The Villa Oplontis at Torre Annunziata

Travel tip:

Mangano’s husband, Dino De Laurentiis, was born in Torre Annunziata, a former small city now absorbed into the greater Naples metropolitan area. Close to Mount Vesuvius, it was destroyed in the eruption of 79 AD and was rebuilt over the ruins. Its name derives from a watch tower - torre - built to warn people of imminent Saracen raids and a chapel consecrated to the Annunziata (Virgin Mary). It became a centre for pasta production in the early 19th century. The Villa Poppaea, also known as Villa Oplontis, believed to be owned by Nero, was discovered about 10 metres below ground level just outside the town and is now a UNESCO World Heritage Site.

More reading:

How Dino De Laurentiis made Italian cinema famous

The genius of Federico Fellini

Luchino Visconti, the aristocrat of Italian cinema

Also on this day:

753BC: The birth of Rome

1574: The death of Cosimo I de' Medici

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Sergio Tòfano – actor and illustrator

The many talents of stage and screen star

Sergio Tòfano as Professor Toti, in Luigi
 Pirandello's comic play Pensaci, Giacomino!

Comic actor, director, writer and illustrator Sergio Tòfano died on this day in 1973 in Rome.

He is remembered as an intelligent and versatile theatre and film actor and also as the creator of the much-loved cartoon character Signor Bonaventura, who entertained Italians for more than 40 years.

Tòfano was born in Rome in 1886, the son of a magistrate, and studied at the University of Rome and the Academy of Santa Cecilia. He made his first appearance on stage in 1909.

He soon specialised as a comic actor and worked with a string of famous directors including Luigi Almirante and Vittorio de Sica.

  

He became famous after his performance as Professor Toti in Luigi Pirandello’s comic play, Pensaci, Giacomino! 

Also a talented artist and writer, Tòfano invented his cartoon character Signor Bonaventura for the children’s magazine, Il Corriere dei Piccoli, signing himself as Sto.

Signor Bonaventura made his first appearance in 1917. The character wore a red frock coat and a hat and his fans interpret him as showing how good people, despite making mistakes, can avoid the bad outcome they seem fated to experience, even in complicated situations, because there is always hope.

Tòfano's invention, the cartoon
character Signor Bonaventura

After the Second World War Tòfano continued to act, working with important directors such as Luchino Visconti and Giorgio Strehler at the Piccolo Teatro in Milan performing in plays by Ibsen and Shakespeare. He also took parts in plays by Molière and Goldoni at the Teatro dei Satiri in Rome.

Tòfano has a string of film and television credits to his name, his most successful films including Goffredo Alessandrini’s 1934 comedy Seconda B, the Raffaello Matarazzo drama Giù il Sipario (1940) and Partner (1968), directed by Bernardo Bertolucci and based on the on the novel The Double by Fyodor Dostoyevsky

He continued to act until his death at the age of 87, having survived his wife, Rosetta, a costume designer he married in 1923, by 13 years.

Before 1935, Rome University's base was in
the Palazzo della Sapienza, near Piazza Navona
 

Travel tip:

Rome University, where Tòfano studied, is often known simply as La Sapienza, which means ‘the wisdom’.  It can trace its origins back to 1303, when it was opened by Pope Boniface VIII as the first pontifical university. In the 19th century the University broadened its outlook and started to offer more than just ecclesiastical studies. Today’s campus was built near the Termini railway station in 1935. Rome University now caters for more than 112,000 students.

Travel tip:

The Piccolo Teatro della Città di Milano, where Tòfano performed regularly after it was founded in 1947, was Italy’s first permanent repertory company. It now operates from three venues in Milan, the Teatro Grassi, the Teatro Studio and the Teatro Strehler.

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Valeria Golino - actress

Neapolitan starred with Hoffman and Cruise in Rain Man

Valeria Golino has won multiple awards
for films made for the Italian market

The actress Valeria Golino, who found international fame when she played opposite Dustin Hoffman and Tom Cruise in the hugely successful movie Rain Man, was born on this day in 1965 in Naples.

Golino was cast as the girlfriend of Tom Cruise’s character, Charlie Babbitt, in Barry Levinson’s comedy, in which Babbitt’s estranged father dies and leaves most of his multi-million dollar estate to another son, an autistic savant named Raymond (Dustin Hoffman) whose existence Charlie knew nothing about.

The 1988 movie won four Oscars and grossed more than $350 dollars. Although Golino was not nominated for her performance in Rain Man, she has won a string of other awards over a career so far spanning almost 35 years.

She is one of only three stars to win Best Actress at the Venice Film Festival on two occasions, for the 1986 drama Storia d’amore (“A Tale of Love”), directed by Francesco Maselli, and for Giuseppe M Gaudino’s 2015 drama Per amor vostro (“For Your Love”).

Golino was close to being selected to star opposite Richard Gere in another massive US hit, Pretty Woman, making it to the final audition stage for the 1990 romantic comedy but eventually losing out to Julia Roberts.

In the same year, Roberts also pipped her to the lead female role in the science-fiction horror film Flatliners.

Golina has been acting for the big screen
since making her debut in 1983

Golino did have other success in America, again in the comedy field, with Big Top Pee-Wee, Hot Shots! and Hot Shots! Part Deux.

Back home in Italy, she was cast in meatier, dramatic roles, bringing her great respect. The winner of several Nastro d’Argento awards from Italian film journalists, she landed her first David di Donatello for Best Actress for La guerra di Mario (“Mario’s War”), Antonio Capuano’s film about the relationship between a mother, played by Golino, and her rebellious adopted son, a boy taken away from an abusive real mother.

Mario’s War also won her an Italian Golden Globe.  Her second David di Donatello was for Best Supporting Actress in Paolo Virzi’s 2013 film Il capitale umano (“Human Capital”).

Golino has revealed a talent for directing, too. Her first short film, Armandino e il Madre, for which she also wrote the script, received a favourable reaction and her first feature film as director, Miele (“Honey”), was screened at the 2013 Cannes Film Festival and won a commendation.

Miele, the story of a woman who works with an Italian hospital doctor in the illegal facilitating of assisted suicides, earned her a Nastro d’Argento as Best New Director as well as an Italian Golden Globe for Best First Feature.

Valeria Golino receives her award at the
2015 Venice Film Festival

Born in Naples into a middle-class background – her father was an academic specialising in German studies, her mother a Greek-born artist – her formative years were spent alternating between Athens and Sorrento after her parents split up.

Although her mother instilled in her a love of the cinema, she had no great ambition to act as she grew up.  In fact, after undergoing surgery to correct a curvature of the spine, she set her sights on the medical profession, dreaming of becoming a cardiologist.

For one reason or another, the opportunity to pursue a career in medicine never came about.  She took some modelling assignments, which she found unfulfilling.  Life changed for her at 17 years old when her uncle, the L’Espresso journalist Enzo Golino, recommended her to Lina Wertmüller, a film director whom he knew socially, for a part in her upcoming movie, Scherzo del destino (“A Joke of Destiny”), alongside the renowned Commedia all’italiana actor, Ugo Tognazzi.

Despite being hospitalised for five months after a car crash disturbed the metal rod implanted in her back to correct the weakness in her spine, her acting career took off at the age of 20 after she played a life-loving cleaning lady in Maselli’s Storia d’amore.

Although she tries to keep her private life out of the public eye, Golino has been a regular in Italian gossip magazines following a series of relationships with other well-known figures in the movie business, the most recent with Riccardo Scamarcio, an actor and director 14 years her junior whom she was with for 10 years.  Nowadays, she largely lives in Rome.

Beautiful views abound in Sorrento

Travel tip:

From the age of five years, Golino’s Italian home was in Sorrento, the popular resort town that occupies a cliff-top position overlooking the Bay of Naples, about 48km (30 miles) along the coast from the city of Naples, heading south.  The journey takes about an hour using the Circumvesuviana railway or hydrofoil across the bay, but considerably longer by road because of the almost constant traffic.  Sorrento, which has Greek origins but was developed by the Romans, is a lively place to stay but with much charm and stunning views from numerous vantage points.

Pictures of Piazza del Plebiscito accompanied the
opening credits for Marriage, Italian Style

Travel tips:

Naples has a connection with the film industry going back to the early years of the 20^th century, when movie makers had already seen its potential for offering a spectacular or atmospheric backdrop.  In later years, Roberto Rossellini, Eduardo de Filippo, Vittorio de Sica and Francesco Rosi set many of their great films in the city.  The actress Sophia Loren, whose Neapolitan movies included Marriage, Italian Style and Yesterday, Today and Tomorrow, in both of which she co-starred with Marcello Mastroianni, was born in Rome but grew up in Naples and nearby Pozzuoli and regards herself as a Neapolitan.

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Lamberto Maggiorani - unlikely movie star

Factory worker who shot to fame in Bicycle Thieves

Maggiorani with Enzo Staiola, who played his son, Bruno,
in Vittorio de Sica's Bicycle Thieves

Lamberto Maggiorani, who found overnight fame after starring in the neorealist classic Bicycle Thieves (1948), was born on this day in 1909 in Rome.

Maggiorani was cast in the role of Antonio Ricci, a father desperate for work to support his family in post-War Rome, who is offered a job pasting posters to advertising hoardings but can take it only on condition that he has a bicycle – essential for moving around the city carrying his ladder and bucket.

He has one, but it has been pawned.  To retrieve it, his wife, Marie, strips the bed of her dowry sheets, which the pawn shop takes in exchange for the bicycle. They are happy, because Antonio has a job which will support her, their son Bruno and their new baby.

However, on his first day in the job the bicycle is stolen, snatched by a thief who waits for Antonio to climb to the top of his ladder before seizing his moment.  The remainder of the film follows Antonio and Bruno as they try to find the bicycle.

As a portrait of life among the disadvantaged working class in Rome in the late 1940s, the film is hailed as a masterpiece, director Vittorio de Sica and his screenwriter Cesare Zavattini fêted by the critics for turning a little-known novel by Luigi Bartolini into a piece of cinema genius.

For Maggiorani, however, his participation was something of a bitter-sweet experience.

An original poster from the 1948 movie

De Sica, who had won an Academy Award two years earlier with Shoeshine, attracted plenty of interest when news spread of his new project, with one American producer willing to offer a lucrative deal to cast Cary Grant in the lead role.

It did not interest De Sica, who was determined to be faithful to the principles of the burgeoning neorealist genre be picking actors who would infuse his characters with realism, regardless of whether they had any experience.

Maggiorani was not an actor at all, but a worker in a steel factory. He had himself experienced unemployment as Rome and De Sica saw him as perfect for the role of Antonio.

Delighted, Maggiorani accepted De Sica’s offer, taking time off work for the filming. He was paid $1,000 dollars, the equivalent of about $10,500 dollars (€8,800) today, with which he was able to give his family their first real holiday and buy new furniture for their home.

His performance was magnificent.  Sometimes, De Sica had to use another actor to dub Maggiorani’s dialogue because his strong Roman accent was occasionally hard to follow, but otherwise he was delighted with how his unlikely protégé understood the way he wanted his character to be portrayed. The critics hailed the arrival of a new star.

Yet once the fuss died down and his pay cheque was spent, Maggiorani found his life had changed. One thousand dollars might have been a large sum but it did not set him up for life.

The director Vittorio de Sica

He went back to the factory, but when orders fell away he was told he was no longer required, the perception being that he must be worth millions of lire after his movie success and that there were others whose need for work was greater.

Shunned by many of his friends, too, after failing to share his perceived wealth, he went back to the movie industry, assuming he would be offered more parts.

He was given some, but usually they were minor roles. Pier Paolo Pasolini gave him a bit part in Mamma Roma, a film about a prostitute trying to start a new life and starring Anna Magnani, but only because he thought his name in the credits would raise the movie’s profile.

De Sica was reluctant to use him at all as anything but an extra. Zavattini recognised and sympathised with his predicament and wrote a screenplay entitled ‘Tu, Maggiorani’ about how non-professional actors such as Maggiorani were sometimes used to execute one particular role and then cast aside.

Maggiorani made 16 movies, the last one a comedy entitled Ostia, directed by Sergio Citti and produced by Pier Paolo Pasolini, but none was particularly successful nor earned him much money.

He died at the San Giovanni Hospital in Rome in 1983 at the age of 73, having never regained the standing he enjoyed with Bicycle Thieves.  It is ironic that the film has recently been recognised as one of the greatest of all time.

The Basilica of San Lorenzo Fuori le Mura adjoins
the Campo Verano cemetery

Travel tip:

Lamberto Maggiorani is buried at the Cimitero Comunale Monumentale Campo Verano, situated beside the Basilica of San Lorenzo Fuori le Mura, in the Tiburtino area of Rome. It is the city's largest cemetery, with some five million internments. The name 'Verano' is thought to date back to the Roman era, when the area was known as Campo dei Verani.

The San Giovanni Addolorata Hospital is built on top of
Roman Ruins on Celio hill, south-east of the city centre

Travel tip:

The hospital complex San Giovanni Addolorata, where Maggiorani died, is on the Celio hill, an area of ancient Roman urban settlements. Under the existing buildings are archaeological remains, including the Villa of Domitian Lucilla, mother of Emperor Marcus Aurelius.  Renovation work has also uncovered a villa belonging to the powerful Valerii family, great landowners, which contained historic mosaics preserved in perfect condition.

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Suso Cecchi D'Amico - screenwriter

Woman who scripted many of Italy's greatest movies

Suso Cecchi D'Amico, pictured in 1999

Suso Cecchi D’Amico, the most accomplished and sought-after screenwriter in 20^th century Italian cinema, was born on this day in 1914 in Rome.

She collaborated on the scripts of more than 100 films in a career spanning 60 years and worked with almost every Italian director of note, particularly the pioneers of neorealism, the movement in which she was a driving force.

The classic films in which she was involved are some of the greatest in cinema history, including  Vittorio De Sica's Bicycle Thieves (1948), William Wyler's Roman Holiday (1953), Mario Monicelli's I Soliti Ignoti (1958), which was released in the United States and Britain as Big Deal on Madonna Street, and Francesco Rosi's Salvatore Giuliano (1962).

She also worked with Michelangelo Antonioni on Le Amiche (The Girlfriends, 1955) and Franco Zeffirelli on Jesus of Nazareth (1977), but she was best known for her professional relationship with Luchino Visconti, for whom she was the major scriptwriter on almost all his films from Bellissima (1951) to The Innocent (1976), including his acclaimed masterpieces Rocco and His Brothers (1960) and Il Gattopardo - The Leopard (1963).

She was born Giovanna Cecchi in Rome. Just after her birth, her father named her Susannah, of which Suso is a Tuscan diminutive. Her mother, Leonetta Pieraccini, was a painter from a theatrical family in Tuscany, while her father, Emilio Cecchi, from Florence, was a journalist and literary critic. They lived for a while in Ariccia, in the Castelli Romani.

Anna Magnani and Luchino Visconti on the set
of Bellissima, scripted by Cecchi D'Amico

For a few years in the early 1930s, her father had worked for Mussolini's government, running the state-backed film company, which brought her into contact with many prominent figures from the film industry and the theatre, including Italy's leading theatre critic, Silvio D'Amico, whose son, Fedele, would later become Cecchi’s husband.

Cecchi was educated in Switzerland and then at Cambridge University before her father pulled strings to find her a job in Mussolini's ministry of foreign trade, where she worked for seven years as a secretary and interpreter.

She left when she married, from which point she became known as Cecchi D’Amico, although it would have been difficult for her to continue to work for the Fascist government given Fedele’s politics.

Fedele was a prominent member of the Italian resistance during the Second World War and edited an anti-Fascist newspaper, which meant he had to go into hiding.

After the war, he was in poor health and went to Switzerland for treatment for tuberculosis. With three children to raise, Cecchi D’Amico was obliged to become the breadwinner. She helped her father translating English literary works into Italian, including Thomas Hardy's Jude the Obscure and Shakespeare plays, which in turn led her into writing scripts for the cinema. She and her father worked together, in fact, on her first film, in 1946.

In 1947 she worked on two films directed by Luigi Zampa -  Vivere in Pace (To Live in Peace) and L'Onorevole Angelina (roughly Angelina: Member of Parliament), the latter starring Anna Magnani, who she had met first during the filming of Roberto Rossellini’s Rome, Open City in 1945, in which she had peripheral involvement, and who became one of her closest friends.

Cecchi D'Amico with her husband, Fedele, in 1943

In 1948 she was one of several scriptwriters who shared credits with De Sica and Cesare Zavattini on Bicycle Thieves, based on Luigi Bartolini's novel, which followed an impoverished man who searches for his stolen bicycle with his young son. It was Cecchi D’Amico who contributed the moving final scene in which, in a departure from the book’s ending, the man attempts to steal a replacement bicycle but is caught by the crowd and humiliated in front of his son, which leads them, as it happens, to form an even closer bond. She would later work with De Sica on another neorealist masterpiece, Miracle in Milan, in 1951.

She was invited to work on Roman Holiday after Wyler became aware Ben Hecht's original script, about a princess (Audrey Hepburn) who meets an American reporter (Gregory Peck) in Italy, failed to capture the real mood of 1950s Rome.

Cecchi D’Amico made her first film with Visconti in 1951, a satirical look at the film business entitled Bellisima, again starring Magnani. Subsequently she wrote or co-wrote all Visconti's films except two.

She was popular with directors because she was content to make creative suggestions and let them believe the ideas were their own. She had a special relationship, both professionally and in private, with Visconti, who generally conceived the outline of films himself but looked to Cecchi D’Amico for suggestions and advice.

The story of her life, Suso, aired
on Italian TV in 2007

She helped further the careers of many Italian stars. For instance, the comedy Big Deal on Madonna Street made a star of Marcello Mastroianni and gave Gina Lollobrigida her first significant part.

Cecchi D’Amico scripted several projects for Mario Monicelli. Indeed, her last work was on a Monicelli film, The Roses of the Desert (2006), a war movie set in Libya.

Given a lifetime achievement award at the Venice Film Festival in 1995, she explained that had there been more newspapers in the post-War years she might have been a journalist and that the neorealist movement was in essence another way in which she and others could write stories about the Italy they saw around them.

She died in Rome in 2010, having survived her husband by 20 years. Their three children have all made contributions to Italian cultural life - Silvia as a film producer, Caterina in directing the Centro Sperimentale di Cinematografia film school in Rome, and Masolino as a translator, critic and teacher.

Masolino's daughter, Margherita, interviewed her grandmother for the 1996 book Storie di Cinema (e d'Altro) – Stories About the Cinema (and Other Things), the closest Cecchi D’Amico came to an autobiography.  In 2007, a film about Cecchi D'Amico's life, entitled Suso, featuring conversations with Margherita and directed by the actor Luca Zingaretti was shown on Italian TV.

The Liceo Chateaubriand in Rome

Travel tip:

Cecchi D’Amico went to school in Rome at the Liceo Chateaubriand on Via di Villa Ruffo, not far from Piazza del Popolo at the start of the fashionable Flaminio district, a chic residential area but also home to the Auditorium Parco della Musica, a venue designed by Renzo Piano, the Maxxi Museum of Modern Art and the Ponte della Musica, the modern foot and cycle bridge across the Tiber.

A stall at the Porta Portese market 

Travel tip:

Many of the sights of Rome have been used for movie locations but some are less well known than others.  The exterior shots for Gregory Peck’s apartment in Roman Holiday were filmed in Via Margutta, a street not far from Piazza di Spagna and the Scalinata di Trinita dei Monti, otherwise known as the Spanish Steps, where Federico Fellini once lived.  Many of the scenes in Bicycle Thieves were shot around Porta Portese in Trastevere, which still hosts the largest Sunday market in Rome.

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Vittorio De Sica - film director

Oscar-winning maestro behind 1948 classic Bicycle Thieves

Vittorio De Sica was one of the major figures
of Italian neorealism

Vittorio De Sica, the director whose 1948 film Bicycle Thieves is regarded still as one of the greatest movies of all time, was born on this day in 1901 in Sora in Lazio.

Bicycle Thieves, a story set in the poverty of post-War Rome, was a masterpiece of Italian neorealism, the genre of which the major figures, in addition to De Sica, were Luchino Visconti, Roberto Rossellini and Giuseppe de Santis and, to a smaller degree, Federico Fellini.

The movie was one of four that landed Academy Awards for De Sica. Another of his great neo-realist movies, Shoeshine (1948), won an honorary Oscar, while Bicycle Thieves won a special award as an outstanding foreign language film in the days before the Best Foreign Language Film category was introduced.

De Sica would later win Oscars in that section for Yesterday, Today and Tomorrow (1963) – a comedy starring Sophia Loren and Marcello Mastroianni – and The Garden of the Finzi-Continis (1970). 

His Marriage Italian Style (1964), also starring Loren and Mastroianni, also earned a nomination as Best Foreign Language Film and for Loren as Best Actress. Loren did win Best Actress for her role in his 1961 movie La Ciociara, which was released outside Italy as Two Women.

Lamberto Maggiorani (left) and Enzo Staiola played
father and son in De Sica's acclaimed Bicycle Thieves

Born in Sora, which lies between Rome and Naples in the area known as Ciociaria, De Sica essentially grew up in Naples, to which his father, Umberto, who worked as a bank clerk with Banca d’Italia, was transferred in 1905.

During the First World War, De Sica had his first taste of the entertainment business when he joined a musical group that performed in military hospitals in Naples. He is said to have had an excellent singing voice.

He began acting in the 1920s and became something of a matinee idol on the stage. This was to lead to movie roles, mainly in light comedies. De Sica was box office for a while, chosen to star opposite female headliners such as Loren and Gina Lollobrigida.

When he turned to directing, he began with movies in a similarly frothy vein. So he took audiences and the critics by surprise with his fourth film, The Children Are Watching Us, released in 1944. An extraordinarily sensitive story about a child whose mother elopes with another man, leaving his father distraught, the film was the first product of De Sica’s collaboration with the screenwriter Cesare Zavattini.

Zavattini, a former law student, began to write screenplays when his employer, Angelo Rizzoli, moved from publishing books and magazines into producing films.  He and De Sica would work together on Shoeshine, Bicycle Thieves, Miracle in Milan (1951), which won a Palme D’Or at the Cannes Film Festival, and Umberto D (1952).

Yesterday, Today and Tomorrow won the
third of De Sica's four Academy Awards

Umberto D, a bleak study of the problems of old age, was a box-office flop, so much so that film historians saw it as the beginning of the end for neo-realism. Indeed, it prompted De Sica to return to lighter work.

Nonetheless, he continued to collect awards and after some commentators had written him off as past his peak he sprang another surprise with The Garden of the Finzi-Continis, based on a novel by Giorgio Bassani about the plight of Jews in Italy under Fascism, which won him another Oscar for Best Foreign Language Film and a Golden Bear at the Berlin International Film Festival.

A compulsive gambler, De Sica often lost large sums of money and accepted work he might otherwise have turned down in order to settle debts.  He was married twice, first to the actress Giuditta Rissone, who bore him a daughter, and later to the Spanish actress Maria Mercader, with whom he had two sons.

His personal life was complicated, however. He made a pact with his first wife to maintain the pretence of marriage while their daughter was growing up and at Christmas would turn the clocks back two hours in his second wife’s house so he could celebrate with both families, one after the other.

De Sica was a member of the Italian Communist Party, and it was the cause of some discomfort to him that his relationship with Maria Mercader created an unwelcome link with Ramon Mercader, her brother, who was a Spanish communist but at the same time an agent for the Soviet secret police, on whose behalf he carried out the assassination of the Bolshevik revolutionary Leon Trotsky in Mexico in 1940.

Sora sits alongside the Liri river against the backdrop
of the Apennine mountains

Travel tip:

Built on a plain alongside the Liri river, in the shadow of the Monti Ernici range in the Apennines, the town of Sora can be found about 25km east of Frosinone in Lazio, about 120m  south-east of Rome and 140km north of Naples, close to the border with Abruzzo. A settlement since the fourth century BC, when it was occupied by the Volsci tribe, it has been at various times under the rule of Rome and Naples.  It lies at the heart of the Ciociaria, an area renowned for its cuisine and colourful and elaborate peasant costumes. Today its economy is a mix of industry and agriculture. It is a pleasant town with some pretty squares, including Piazza Santa Restituta, which sits in front of the church of the same name, just off Lungoliri Mazzini. On rocks above the town there are the remains of a walled fortification that dates back to the Volsci period.

The Toledo Metro station in Naples

Travel tip:

The Banca d’Italia building in Naples is in a fairly nondescript street linking Via Medina with Via Toledo, not on the tourist trail. Yet within a few metres is one of the city’s more unlikely must-see places, the Metro station Toledo. It is one of a number of so-called ‘art stations’ on the line linking Piazza Garibaldi and Piscinola. Toledo is famous for its breathtaking escalator descent through a vast mosaic by the Spanish architect Oscar Tusquets Blanca known as the Crater de Luz – the crater of light – which creates the impression of daylight streaming into a volcanic crater.

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Alessandro Blasetti - film director

Reputation tarnished by links with Mussolini

Alessandro Blasetti was one of the first directors
to use the techniques of neorealism in his films

Alessandro Blasetti, the film director sometimes referred to as ‘the father of Italian cinema’ for the part he played in reviving the film industry in Italy in the late 1920s and 30s, was born on this day in 1900 in Rome.

In his directing style, Blasetti was seen as ahead of his time, even in his early days.  His films were often shot on location, used many non-professional actors and had the characteristics of the neorealism that would make Italian cinema famous in the post-War years.

Yet he will forever be seen by some critics as an apologist for Fascism, a charge which stems mainly from his support for at least part of the ideology of Benito Mussolini, which led to a number of his films being interpreted as Fascist propaganda, although the evidence in some cases was rather thin.

The son of an oboe professor at Rome’s Accademia Nazionale di Santa Cecilia, Blasetti graduated in law from the Sapienza University of Rome.   Married in 1923, his first job was as a bank clerk but after a year he began to work as a journalist and wrote the first film column to appear in an Italian national newspaper.

He used his position to campaign for a revival of film production in Italy, which at that time had largely ground to a halt, despite Rome having been a major hub of the silent movie industry before the First World War.

Adriana Benetti and Gino Cervi in a scene from
Blasetti's 1942 film Quattro pasi fra le nuvole 

Blasetti helped begin the resurgence with his first movie, Sole – Sun – in 1929, with a storyline set against the real-life draining of the Pontine Marshes, south of Rome, a project organised by Mussolini.

Mussolini applauded the end result, declaring it to be ‘the dawn of the Fascist film’. Financed through a co-operative, it was not a commercial success yet it was significant in that Mussolini saw film as a way of spreading his message and would later invest much state funding in the Italian film industry.

Blasetti’s early neorealism was clear in 1860, a film made in 1934 about Garibaldi’s campaign to unite Italy as seen through the eyes of two peasants, again with much location filming and imbued with the same kind of visual starkness that would be associated with Luchino Visconti, Roberto Rossellini, Vittorio De Sica and others in the post-War years.

It can be argued that several of Blasetti’s 1930s films are critical of the Fascist regimes. Vecchio guardia - The Old Guard - recounts Mussolini’s 1922 March on Rome, which led to his ascension to power. Ironically, it was criticised by some in the Fascist government for having too few scenes of public enthusiasm for Il Duce.

Blasetti pictured in 1965

Blasetti, however, did not discourage Mussolini’s interest in his work and took every opportunity to lobby for state funding and support. One outcome was the construction of the large, state-of-the-art Cinecittà studios in Rome, which would give Italian filmmakers the resources to make a real impact.

A marked shift to neorealism came with Quattro pasi fra le nuvole – Four Steps in the Clouds – his 1942 story of a married salesman who agrees to save the honour of a pregnant girl he meets on a train by presenting himself to her family as her husband.

As well as his films, Blasetti’s notable contribution to Italian cinema was as founder of the school that was to become the Centro Sperimentale, Rome’s noted film study centre archive.  He died in Rome in 1987.

Coastal lakes or lagoons typify the Pontine Marshes

Travel tip:

The Pontine Marshes is a reclaimed area of land south of Rome, bordered roughly by the Alban Hills, the Lepini Mountains, and the Tyrrhenian Sea.  It was a marshy and malarial area that several emperors and popes tried unsuccessfully to drain and until the early part of the 20^th century it was inhabited by just a handful of shepherds. However, in 1928 the Fascist government drained the marshes, cleared the vegetation and built new towns, notably Littoria (now Latina) in 1932, Sabaudia in 1934, Pontinis in 1935, Aprilia in 1937, and Pomezia in 1939. By the Second World War the only untouched area was the Monte Circeo National Park. The area is now the most productive agricultural region in in Italy.

Travel tip:

The Centro sperimentale di cinematografia – the Italian national film school - was established in 1935. The oldest film school in Western Europe, it is still financed by the Italian government. It is located near Cinecittà, about 10km (6 miles) south-east of the centre of Rome along Via Tuscolana.

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